Chelsea openings, for the most part, are what they are: slightly glamorous events drawing fashionable crowds that are held in lovely, spacious galleries that tend to show predictable, big-name artists.

SAN JUAN, Puerto Rico — Sandwiched between the pristine cobblestone streets and bright houses of Old San Juan and the ritzy, high-rise condos of costal Condado lies the neighborhood of Puerta de Tierra. A thin strip of real estate, once part of colonial San Juan but situated just outside the walled city, this neighborhood was historically the first attacked by various invading armies.

The Aperture Foundation publishes beautiful photography monographs that are designed to look more like a portfolio than a book; such is their emphasis on image plates over explanatory text. The Factory of Dreams: Inside Televisa Studios, one of Aperture’s recent publications featuring the Brooklyn-based photographer Stefan Ruiz, is a monograph that presents a single body of work. The Factory of Dreams is a collection of photographs Ruiz began working on eight years ago, depicting one of Mexico’s largest exports: televised fantasies of “love, wealth, and betrayal.”

It’s strange to be reminded in the 21st century that there was a time before “teens” and “tweens,” before those years between childhood and adulthood, i.e. adolescence, had a name and now, a stereotype. All of us who attended the Books & Talks lecture Friday night, however, at Artists Space’s new offshoot on Walker Street, were reminded that before the 1950s teenagers as we know them didn’t exist.

It’s very rare that museum directors or curators, when introducing a new show to a room full of writers and critics, say anything remotely thought-provoking or profound. Introducing the Rineke Dijkstra mid-career retrospective at the Guggenheim, however, the museum director Richard Armstrong made a simple, obvious, but truly striking declaration. “Rineke Dijkstra,” he said, “is an artist with very few peers.”